Fractal Audio DRIVE models: Plus Dist (based on MXR Distortion +)

yek

Contact Fractal for your Custom Title
The contents of this thread, including updates, are available as a PDF Guide. Download it here.

DIST%2B.png


Plus Dist: based on MXR Distortion +

MXR, now owned by Jim Dunlop, was one of the largest effects makers in the 70s - 80s. Several of their products are considered classics: Dynacomp, Phase 90 and 100, Flanger, and the Distortion +.

The Distortion + is a Germanium-based pedal from the 70s. The “+” or “plus” refers to the purpose of this pedal: adding more distortion to an already overdriven vintage amp like a Plexi. Randy Rhoads was this pedal's best-known endorser. Steve Vai used one when recording Crossroads.

MXR:
“This little yellow box is responsible for those great distortion sounds heard on so many classic recordings. Set the Distortion control low and crank the Output knob to drive the front end of your amp for cool blues tones, or max out the Distortion knob for classic early ’80s hard rock tone. There still isn't any distortion unit on the market that sounds like the Distortion+.
“Germanium-powered, soft-clipped distortion. Go from warm, tubey overdrive to gnarly fuzz. Classic early ’80s hard rock tone.”

Wikipedia:
“The MXR Distortion + ("Distortion Plus") is a distortion pedal originally designed in the 1970s by MXR Innovations. As its name implies "distortion," it's a 'distortion' (parallel clipping) but has a rather mild sound. It has been cloned many times, most famously by the DOD 250 Overdrive (a distortion). The pedal uses a single op-amp and a pair of germanium diodes to ground (parallel-push) for clipping in a very simple configuration with only Output and Distortion controls, no tone control; the pedal uses no discrete transistors. Turning up the Distortion control increases the amount of distortion and at the same time cuts some bass from the signal. This pedal is perhaps best known for its crunchy heavy metal sound that was featured by Randy Rhoads in his work with Ozzy Osbourne. Jerry Garcia of the Grateful Dead used this pedal exclusively for distortion in the late 1970s. Bob Mould of Hüsker Dü also used the Distortion + as part of his trademark guitar sound. Dave Murray of Iron Maiden has used Distortion + since the early 1980s. Thom Yorke of Radiohead has included the + for many of his signature distortion sounds, using a variety of guitars to achieve various tonal options.”

Just like the Phase 90, early “script logo“ versions of the pedal are appreciated more than the later “block logo” version. More history and version information

The pedal’s controls are:
  • Output: controls the output level (model: Level).
  • Distortion: sets the amount of distortion (model: Drive).
Players often set both controls around 3 o'clock.

The model dates back to first generation Axe-Fx. It has been rematched by Fractal Audio in Quantum 5.x firmware. Its Clip Type is Germanium.

Personal note:
I’ll be honest: I have been unable to get a tone out of this model that I like. It’s a very raspy, loose type of overdrive/distortion, and sounds fuzzy at higher Drive settings. Almost like overloading the inputs of a console.

About CPU:
  • Fractal Audio's Drive models take up varying amounts of CPU. The Plus Dist is a heavy user.
  • When a Drive block is engaged, CPU percentage will rise during playing, because CPU usage is "amplitude dependent".










Link to the list of published threads
 
Last edited:
I find it funny how references to this pedal always include Randy. But in his GP interview, he said something to the effect of "I use it, but I'd really like to find something better".

Hardly a ringing endorsement.
 
To be fair, the recorded tone wasn't really his 'fault'. Blame engineering and production for that, it's got that weird metallic ultra-short-delay reverb. The tone on the live record isn't like that at all, it's much 'better' by my definition.

He was clearly 'finding his way'.
 
To be fair, the recorded tone wasn't really his 'fault'. Blame engineering and production for that, it's got that weird metallic ultra-short-delay reverb. The tone on the live record isn't like that at all, it's much 'better' by my definition.

He was clearly 'finding his way'.


I agree as a die hard RR fan I despise the tones in Blizzard and Diary but Tribute... that's a good tone, would be great if it had some low end in it.
 
I've never used this model until now. Is the volume supposed to be so low? Like several dB lower than the other drives?

However, after turning up the level, it sounds good with the 5F1 Tweed (drive at 6.5) and my Nashville Deluxe Telecaster. I settled on the Timmy for the track I was working on, though.
 
Back
Top Bottom